The old edict “Necessity is the mother of invention” certainly rings true for Foley artists — the people who create sounds for film and television. To be a Foley artist is to be creative and detail-oriented, intuitive and analytical; they must be in good physical condition and, as it turns out, quite often a mind reader.
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My interests in film and theatre started at Roy Elementary School in Northlake, Illinois, when I got to do lighting for school plays. […]
by Edward Landler The Membership Outreach Committee recently offered three separate classes, each comprising two sessions over two consecutive days, […]
by Peter Tonguette As personal projects go, Bob Fosse’s All That Jazz is hard to top. The 1979 musical drama […]
I’ve worked in NBC’s News Film Archive since 2005. I work freelance, which gives me a nicer contract with a better pay rate, and I still have the MPI health and pension plans. I’m a film librarian and, since 2015, I have been the “chief.” […]
The Guild’s Asian-American Steering Committee hosted a traditional brunch and panel discussion by distinguished group of Asian-heritage union members. […]
In 2004, after spending a decade working with Martin Scorsese and Thelma Schoonmaker, ACE, assistant editor Tom Foligno finally got his first chance to be an editor. It wasn’t in the cutting room, however, but on the big screen. […]
A compilation of praise for award winning editor, Dede Allen […]
Production felt like endless problem solving––whereas editing was about storytelling using a vocabulary of images and sounds, and that excited me. […]
CineMontage sat down with the two collaborators at Cox’s cutting room at Malpaso on the Warner lot as they were finishing post-production on Gran Torino.
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